Curt wild biography definition

Written by Emerson Enriquez 170819

“He became someone else, yet again, he always was.”

Bowie, Mercury, Prince and even Grace Jones all komma to mind with the highs and lows of superstar Maxwell Demon. Ever since he was fair and quaint Thomas, he was destined to take the world by storm with the different on and off scen personas he adopts. It’s glitz and glamour or bust for him. Every stage was for him to own, and every evening was his time to shine – to glimmer so bright that those who can’t take it simply don’t deserve to be a witness to it. That was the life of Maxwell Demon, and it’s no different from the life of Brian Slade.

As someone who chases spotlights incessantly, the superstar life is something that immensely appeals to me. It may not be belting out tunes or surfing through an audience, but to be noticed for my talents in a way that I feel so glorified is a feeling I yearn to have, even in smaller day-to-day situations. Like

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When David Bowie was interviewed in May 1973, and asked to define ‘decadent rock’ for the magazine Melody Maker, Bowie answered ‘not putting a white rose on a white table, for fear of the thorn scratching the table’. This statement, stressing the musical genre's extreme refinement, shows the parallel between early seventies rock and decadence, a notion that had already been used to describe a controversial artistic movement, that is, a sub-genre of late nineteenth century Symbolism.

American director Todd Haynes, in his movie Velvet Goldmine (1998), goes one step further to relate seventies rock to Decadentism by pointing out that writer Oscar Wilde was actually the first artist to present han själv as a ‘pop idol’. In the movie, Haynes traces the origins of glam rock back to Oscar Wilde and his philosophy of art for art’s sake. 

Velvet Goldmine is a fictional re-creation of the artistic/amourous relationships between David Bo

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Weird Scenes From the Velvet Goldmine

This article was originally published in RS 800, November 26th, 1998.

Todd Haynes was, in his own words, “a little short of being there.” But he remembers the teenage girls — the flashy, precocious, glitter-rock fillies — that he went to school with in Southern California in the early 1970s.

“They were the smoking girls, the tough girls,” Haynes says with lingering awe, “the ones wearing shiny red nail polish and lipstick, jewelry, little shoes with big heels and straps around the ankles. They were talking about Iggys and Ziggys — bi this and bi that: ‘Bowie’s bi, Elton’s bi.’ And I’m going, ‘What the fuck are they talking about? Bi what?’ “

One of America’s most acclaimed experimental filmmakers, the writer-director of the provocative independent features Poison (1991) and Safe (1995), Haynes, 37, also recalls being startled, awed and